Jack McGowan Movies

Unlike its contemporary The Texas Chainsaw Massacre and predecessor Psycho -- both of which were very loosely based on the gruesome antics of notorious Wisconsin killer/graverobber Ed Gein, who killed, skinned, devoured or made furniture out of his many victims in the late '50s -- this gritty, disturbing and underrated production purports to be a semi-accurate account of Gein's crimes. Roberts Blossom turns in a frighteningly effective performance as Ezra Cobb, the crusty old farmer with unique decorating ideas, an intense interest in the occult, and a decidedly unhealthy attachment to his domineering mother, whose body he preserves after her death. When evenings with his stuffed mom prove less than comforting, Cobb goes into town to seek young female victims whose corpses he uses for a variety of grisly household projects. Exiled in distribution limbo for 20 years, Deranged was available only in severely-cut prints, missing much of the film's goriest footage (which featured the early work of makeup maestro Tom Savini), although a pristine uncut print briefly surfaced in the mid-'90s. ~ Cavett Binion, All Movie Guide

The third and (to date) last film version of the Edna Ferber/Jerome Kern/Oscar Hammerstein II musical Show Boat falls just short of greatness but is still a whale of a show. Howard Keel and Kathryn Grayson are in fine fettle as irresponsible gambler Gaylord Ravenal and showboat ingenue Magnolia Hawks. The plot adheres closely to the Broadway original making several welcome improvements in the final act (which was always a bit shaky). Magnolia, daughter of showboat impresario Captain Andy (Joe E. Brown) and Parthy Hawkes (Agnes Moorehead), falls head over heels in love with the raffish Ravenal. When the show's leading lady, Julie (Ava Gardner), and leading man, Steve (Robert Sterling), are forced to leave when Julie's mulatto heritage is revealed by disgruntled suitor Pete (Leif Erickson), Magnolia and Gaylord step into the vacant stage roles and score a hit. Eventually, the two are married and for several months are quite happy. After incurring serious gambling losses, however, Gaylord walks out of Magnolia's life never realizing that his wife is expecting a baby. With the help of her former showboat colleagues Ellie and Frank Schultz (Marge and Gower Champion) and a behind-the-scenes assist from the tragic Julie, Magnolia secures work as a Cabaret singer in Chicago. Her new year's eve debut threatens to be a bust until her father Captain Andy quells the rowdy crowd and guides his daughter through a lovely rendition of After the Ball (a Charles K. Harris tune that pops up in every stage version of Show Boat). Magnolia returns to her family, with her daughter Kim in tow. Upon learning from Julie that he has a daughter, Gaylord returns to Magnolia and Kim, setting the stage for a joyous ending.

Virtually all of the Kern-Hammerstein songs are retained for this version of Show Boat (though none of the songs specially written for the 1936 film version are heard). These cannot be faulted, nor can MGM's sumptuous production values. Still, the 1951 Show Boat leaves one a bit cold. Perhaps it was the removal of the racial themes that gave the original so much substance (as black stevedore Joe, William Warfield exists only to sing a toned-down version Ol' Man River while Joe's wife Queenie is virtually written out of the proceedings). Also, MGM reneged on its original decision to cast Lena Horne as Julie; the role was recast with Ava Gardner and rewritten with an excess of gooey sentiment). Or perhaps it was the production's factory-like slickness; typical of the film's smoothing out of the original property's rough edges was the casting of Marge and Gower Champion, who are just too darn good to be convincing as the doggedly mediocre entertainers Frank and Ellie. Even so, Show Boat does have Howard Keel and Kathryn Grayson at their peak, not to mention the peerless Joe E. Brown as Captain Andy. And the film was a financial success, enabling MGM to bankroll such future musical triumphs as Singin' in the Rain and Seven Brides for Seven Brothers. ~ Hal Erickson, All Movie Guide

The presence of William Powell as legendary showman Flo Ziegfeld at the beginning of Ziegfeld Follies might lead an impressionable viewer from thinking that this 1946 film is a Technicolor sequel to the 1936 Oscar-winning The Great Ziegfeld. Not so: this is more in the line of an all-star revue, much like such early talkies as Hollywood Revue of 1929 and Paramount on Parade. We meet a grayed, immaculately garbed Ziegfeld in Paradise (his daily diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive. Evidently Ziegfeld's shade has something of a celestial conduit to Metro-Goldwyn-Mayer studios, since his "dream" show is populated almost exclusively by MGM stars. Vincente Minnelli is given sole directorial credit at the beginning of the film, though many of the individual "acts" were helmed by other hands. The Bunin puppets offer a tableau depicting anxious theatregoers piling into a Broadway theatre, as well as caricatures of Ziegfeld's greatest stars. The opening number, "Meet the Ladies", spotlights a whip-wielding (!) Lucille Ball, a bevy of chorus girls dressed as panthers, and, briefly, Margaret O'Brien. Kathryn Grayson and "The Ziegfeld Girls" perform "There's Beauty Everywhere." Victor Moore and Edward Arnold show up in an impressionistically staged adaptation of the comedy chestnut "Pay the Two Dollars". Fred Astaire and Lucille Bremer (a teaming which evidently held high hopes for MGM) dance to the tune of "This Heart is Mine." "Number Please" features Keenan Wynn in an appallingly unfunny rendition of an old comedy sketch (performed far better as "Alexander 2222" in Abbott and Costello's Who Done It?) Lena Horne, strategically placed in the film at a juncture that could be edited out in certain racist communities, sings "Love". Red Skelton stars in the film's comedy highlight, "When Television Comes"-which is actually Skelton's classic "Guzzler's Gin" routine (this sequence was filmed late in 1944, just before Red's entry into the armed services). Astaire and Bremer return for a lively rendition of "Limehouse Blues". Judy Garland, lampooning every Hollywood glamour queen known to man, stops the show with "The Interview". Even better is the the historical one-time-only teaming of Fred Astaire and Gene Kelly in "The Babbitt and the Bromide". The excellence of these sequence compensate for the mediocrity of "The Sweepstakes Ticket", wherein Fanny Brice screams her way through a dull comedy sketch with Hume Cronyn (originally removed from the US prints of Ziegfeld Follies, this sequence was restored for television). Excised from the final release print (pared down to 110 minutes, from a monumental 273 minutes!) was Judy Garland's rendition of "Liza", a duet featuring Garland and Mickey Rooney, and a "Baby Snooks" sketch featuring Fanny Brice, Hanley Stafford and B. S. Pully. A troubled and attenuated production, Ziegfeld Follies proved worth the effort when the film rang up a $2 million profit. ~ Hal Erickson, All Movie Guide

The plot of the overinflated MGM musical Broadway Rhythm can be summed up briefly: Musical comedy producer Jonnie Demming (George Murphy) dismisses his vaudevillian dad Sam Demming (Charles Winninger) as old-fashioned. Jonnie signs Hollywood star Helen Hoyt (Ginny Simms) to a Broadway show, but she turns it down. Sam saves the day by dredging up an old script he'd done in summer stock-which, of course, Helen agrees to play. All of this can be forgotten, and in fact will be forgotten, once the film's parade of "guest stars" gets under way. Such stage and screen luminaries as Lena Horne, Ben Blue, Nancy Walker, Eddie "Rochester" Anderson, Hazel Scott and Tommy Dorsey & His Orchestra make up for the narrative banalities with such musical numbers as Gershwin's "Somebody Loves Me" and Jerome Kern's "All the Things You Are." ~ Hal Erickson, All Movie Guide

This second film version of the George and Ira Gershwin's Broadway hit Girl Crazy stars reigning MGM musical prince and princess Mickey Rooney and Judy Garland. The 1932 version of Girl Crazy de-emphasized the main plot, building up the comic subplot involving a timorous temporary sheriff and a city slicker con man -- the better to accommodate that film's stars, Bert Wheeler and Robert Woolsey. The 1943 remake does without the comic relief, concentrating on Rooney, a teenaged playboy who is sent to a Western mining school by his father (Henry O'Neill), in the hopes that the Rooney will forsake his wastrel ways. Judy Garland is cast in the role originated on stage by Ginger Rogers: the feisty, lovelorn frontier postmistress Ginger Gray, who falls in love with the hero -- the difference being that Garland has been promoted from postmistress to the daughter of mining-school dean Phineas Armour (Guy Kibbee). The new plot involves a contest for rodeo queen, pitting Ginger against Marjorie Tait (Frances Rafferty), who is also her rival for Rooney's affections. The contest serves a double purpose: Rooney is hoping that the publicity engendered by the rivalry will attract students to the failing school, proof positive that for all of his bravado, he's a swell, altruistic guy underneath. These plot complications are merely prologue for a gargantuan musical finale built upon the Gershwin standard "I Got Rhythm," staged by the film's original director, Busby Berkeley. Other musical carryovers from the stage play include "Embraceable You," "Bidin' My Time," and "But Not for Me." Featured in the cast are June Allyson, Rags Ragland, and the Tommy Dorsey Band. ~ Hal Erickson, All Movie Guide

Cole Porter's musical hit Panama Hattie originally starred Ethel Merman on Broadway. But Merman was not a proven movie commodity, thus it was Ann Sothern who appeared in the film version as Hattie, brassy but golden-hearted proprietress of a Canal Zone hotel. Accustomed to dealing with such raucous cohorts as she-sick sailors Red (Red Skelton), Rags (Rags Ragland) and Rowdy (Ben Blue), Hattie isn't quite certain how to handle herself when she falls in love with wealthy and cultured Dick Bulliett (Dan Dailey Jr.) Socialite Leila Tree (Marsha Hunt), who'd previously set her cap for Dick, does her best to break up the romance, but Hattie is championed by Dick's kid sister Geraldine (Jackie Horner) and family butler Jenkins (Alan Mowbray). The play's original storyline, which shifted into gear when Hattie began picking up Nazi shortwave radio broadcast in the fillings of her teeth, is virtually nonexistent here, as is Porter's score, save for "I've Still Got My Health" and "Let's be Buddies" (Lena Horne does, however, show up to sing "Just One of Those Things", a carryover from an earlier Porter musical). A notoriously troubled production, Panama Hattie was completely refilmed after a disastrous preview, delaying its scheduled release by nearly a year. ~ Hal Erickson, All Movie Guide

Judy Garland performs her only on-screen death scene early in the proceedings of Little Nellie Kelly. But despair not! Garland soon reappears as the daughter of the character she was playing in the film's first reels. Now a girl of 20, Garland has fallen in love with Douglas McPhail, much to the dismay of her father George Murphy and grandfather Charles Winninger. However, Murphy and Winninger are too much at odds with each other to give proper attention to Garland. Going into her Miss Fixit act, Garland patches up the differences between pop and grandpop, and gets to keep her beau in the bargain. Based on the play by George M. Cohan, Little Nellie Kelly affords Judy Garland ample opportunity to sing a swing version of "Singin' in the Rain", as well as several newer songs. ~ Hal Erickson, All Movie Guide

This fun-filled spin-off of the Rodgers & Hart Broadway musical by the same name, features Judy Garland and Mickey Rooney as two young children of vaudevillian parents who aren't included in their parents travels, so they set out to produce a show of their own. Rooney's the driver here and he's up against the administrators of a fogy state-run trade school, who think the whole show idea is nonsense. A listening judge gives them 30 days to put on the show and prove they don't belong in the jail-like school. The rest of the action involves the highly talented kids successful efforts to not only stage the show, but to bring the whole troupe to Broadway. ~ All Movie Guide

A never-completed stage musical was the source for the MGM superproduction Born to Dance. The plot is another three-sailors-on-leave affair, with Ted (James Stewart), Mush (Buddy Ebsen) and Gunny (Sid Silvers, who also co-wrote the script) romancing the eminently romanceable Nora (Eleanor Powell), Peppy (Frances Langford) and Jenny (Una Merkel). Nora aspires to become a dancing star, but her career nearly ends before it begins when she inadvertently comes between Broadway luminary Lucy James (Virginia Bruce) and her producer-lover McKay (Alan Dinehart). If anyone watching back in 1936 really cared about the plot, they probably weren't music lovers. The lovely Cole Porter score (his first written directly for the screen) includes "I've Got You Under My Skin", sung by Virginia Bruce to James Stewart, and "Easy to Love", warbled by Stewart to Eleanor Powell. Highlights include Reginald Gardiner's impersonation of a symphony-conducting traffic cop (a routine he'd previously performed on stage) and Eleanor Powell's climactic tap routine on board an art-deco battleship (a sequence later re-deployed for the climax of 1944's I Dood It). ~ Hal Erickson, All Movie Guide

No relation to the later Clifton Webb vehicle of the same name, Sitting Pretty is a dated but likable film about the songwriting racket. Jack Oakie and Jack Haley play a pair of would-be tunesmiths who team up with aspiring dancer Ginger Rogers. Through the kindness of a tippling director (Lew Cody), the trio is given a bid for stardom in a movie musical directed by an excitable Russian (Gregory Ratoff). The characters played by Oakie and Haley were loosely based on Paramount's real-life songwriting team Mack Gordon and Harry Revel, who show up in bit parts. Sitting Pretty is the film that introduced the sprightly tune "Did You Ever See a Dream Walking?" ~ Hal Erickson, All Movie Guide

This second of three film versions of the durable James Montgomery stage farce Nothing But the Truth was also the first "talkie" version. Richard Dix stars as Robert Bennett, a rising young stockbroker who bets $10,000 that he can go 24 hours without telling a fib. Bennett's prospective father-in-law E.M. Burke (Berton Churchill) stands to lose big-time if our hero wins, thus Burke does everything he can to throw Bennett into embarrassing situations where the truth is not necessarily the best weapon. The day is saved when Burke's scheme to trick Bennett into losing the wager backfires-- but Bennett still has to explain his boorish behavior during the past 24 hours to all the people he's offended. Nothing but the Truth was memorably remade in 1941 with Bob Hope and Paulette Goddard, and in 1997 the basic premise was exhumed for the hilarious Jim Carrey vehicle Liar Liar. ~ Hal Erickson, All Movie Guide